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Composer or Director: Maximo Diego Pujol. After the recent run on Piazzolla we move on to the next generation of Argentinian composers. The Sonatina he wrote two years later, and with which he won several prizes, shows greater resource in its layout and its harmony, and while conspicuously utilizing Argentinian dance forms is fairly sparing of cliches. Its first movement is much the best: the second is too discursive, and the third, which calls for considerable virtuosity, relies too much on one obsessive phrase.
The other work here for solo guitar, the elegy for Piazzolla which quotes from two of his works dates from a decade later.
Its second movement, once again, exploits an obsessive figure, but its deeply felt conclusion is impressive: the finale openly espouses tango rhythm, perhaps implying faith in its capacity to endure even after the death of one of its great interpreters. The suite with violin, which depicts various barrios of Buenos Aires, could well prove a popular success: both the first movement, a lively classical tango with melancholy interludes, and the third, a candombe , are catchy, and the romantic second movement shows a decided melodic gift: only the finale fails to come up to the same standard.
The work for guitar and string quartet begins in vigorous tango rhythm, with alternating meditative sections, but it is the songful second movement that is the most distinguished. Maria Isabel Siewers is an admirable guitarist, with a clean technique, subtle nuances of rhythm and tone some particular delicacy in the fourth Prelude , and in the Elegy her differentiation of simultaneous tonal planes is exemplary.
She is well partnered by the other players; and the recording is excellent, beautifully clear and with just the right amount of resonance. Follow us.
Candombe En Mi (Maximo Diego Pujol)
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Maximo Diego Pujol Cinco Preludios
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